How it all began.
The Project starts as a three-headed Psytrance-Liveact launching in the mid-'90s, performing at several german Goa/Psytrance Parties and open airs. Their first single appears in 2001 called "Dua Orang", initiating a view releases on various compilations. In 2005 Spiritual Beings Records released the album "Groom Mountains" produced by Marcus which primary contains Psytrance, but also Tara Putra's first Ambient, Chillout and Dub tracks. The EP "Hidden Sense" pops up in 2010. This displays the projects future development with Psybient and Psydub - Creating space and psychedelic atmospheres in a dubby ambience.
20.07.2019 Forest Soul Gathering 2nd Edition (PT)
01.09.2018 Gaggalacka Festival 2018 – The Inner Circus (GER)
10.08.2018 Natural Unite #18 (PL)
21.07.2018 Goadupa Festival (PL) (CANCELLED)
06.04.2018 Pure Psychedelic Vol. 13 (PL)
17.03.2018 PEACE @ St.Gallen (CH)
25.08.2017 Visionary Woods (GER)
21.07.2017 Forest Soul Gathering (PT)
27.05.2017 Paradiesvogelfest (GER)
18.03.2017 Kaleidonox (GER)
28.10.2016 Obudzić Sypialnię Festival: "Tantra of Shadows" (PL)
03.09.2016 Gaggalacka OA 2016 (GER)
30.07.2016 CO:IN PSYCHEDELIC ART FESTIVAL 2016 (TUR)
23.07.2016 Goadupa Arts, Culture & Music Festival 2016 (PL)
16.07.2015 Goadupa Arts, Culture & Music Festival 2015 (PL)
12.09.2014 Mystical Waves (CZ)
05.09.2014 Gaggalacka OA 2014 (GER)
05.07.2014 Universe Vibrations. Vibronica. (UA)
21.06.2014 Blue StarGate Summer Solstice Celebration (USA)
01.02.2014 Egodrop 4th B-Day (PL)
06.09.2013 Gaggalacka 2013 (GER)
17.05.2013 Psykonia 2013 (GER)
12.12.2012 "Light Bulp Moment" @ Midi Radio (WEB)
06.05.2012 "In Dubland" (Album Presentation) @ Psychic Radio Station (WEB)
It's all about Sound.
In summer 2012 I gave an interview to the Euphoric Magazine India which should answer some questions:
Q: Most of the younger Ambient generation knows you as a Downtempo artist. Tell us more about Tara Putra. What kind of music have you been associated since the inception?
TP: Everything started as a Psytrance-liveact in the mid-nineties founded by two friends and me. We were infected by the Goa-/Psytrance-Virus so we joined the community. After performing on some festivals we started collaborating with a German label to release a vinyl EP and later on some tracks were appearing on several compilations. Some time around 2002/2003 we decided to terminate the project due to a heavy workload in our professions. After a one year break from producing music I have restarted working with Cubase because DJing didn't fulfill my desire. I was producing a lot of tracks and in 2005 Spiritual Beings Rec. released 'Groom Mountains'. It was still general Psytrance yet containing my first downtempo-experiments. Another long break followed and finally I produced more downtempo tracks resulting in an EP called 'Hidden Sense', released and promoted by the Ektoplazm netlabel. Then Gliese 581C Rec. released a view tracks (usually psydub/psybient) on compilations and in 2012 the album 'In Dubland' was completed.
Q: You have quite a taste in Travel and Photography. Whats your favourite destination in the world?
TP: That's a very difficult question and I can not give you a final answer! Varanasi (India), Vang Vieng (Laos) or Chefchaouen (Morocco) are very special places to me. I also had some real magic moments in Kashmir and felt in love with the Indonesian islands as well. India and Asia in general are awesome and it's definitely worth traveling there.
Q: Your new album, "In Dubland" sees in its cover, an awesome photograph of Mughal Garden in Srinagar. How do you connect with it?
TP: It was one of these special moments when I took this picture. The Mughal Garden has a very exotic and oriental touch primarily due to the filter applied. During my visit in Srinagar I had been living on a houseboat at Dal Lake and each misty morning was like falling into a dream - no noise, not even a sound, only when a wooden fishing boat or shikara was passing by - highly surrealistic!
Q: You are known for your subtle yet deep basslines that have a warm feel to them. How do you think this bass is different from the ones in Dubstep?
TP: Well, it's a wide difference. In my dubs I try to build baselines which dominate the arrangement subversively, like they were the heartbeat of the track. The audience has to hear and feel it. Above all, I never use any effects on it only a clean sine wave.
Q: Tara Putra translates to 'Son of the stars'. What does it mean?
TP: It just means … not from this world. [grin]
Q: Your tracks see names such as 'Dubland mountains' and more recently, 'MonkeyIsland' (Affeninsel) and 'Dubland Coastline'. How do you associate yourself with nature?
TP: Certainly we are all part of nature. I'm pretty much convinced about that. Yet, in our daily life with all its distortions, problems, responsibilities and abundance of material items which we don't necessarily need we tend to forget about it. That's why I'm biking in the forest whenever it's possible, enjoy the fresh air or just sit there and let my mind wander. The track name 'Affeninsel' implies that we all live on the same 'MonkeyIsland'.
Q: What is future Tara Putra gonna sound like?
TP: Mostly, the tracks will be heavily influenced by dub sounds but somehow it's difficult for me to define the sound well. Right now, I'm also producing some Ambient tunes as well as Psybient. It's hard to predefine a genre, because there are boundless possibilities. The upcoming release together with a friend from Gliese Rec. will be nothing but dub, including some Ambient tracks.
Q: What are your music influences? Are you trained in music? What about Sound engineering?
TP: There are too many influences to be mentioned. I'm listening to a lot of styles and different genres ranging from Ambient, Psybient, Darkpsy, Dub, Reggae to Indian Classic and Eastern European sound or Arabic music among many others. I'm an autodidact without musical education, only trained by myself. It's good to try new musical oddities as often as possible.
Q: Analogue or Digital?
TP: Digital. Since I have a new computer on my desk all of the work was created internally. But it's a question of money and time as well. When we had played live, a lot of analogue synthesizer had been used. Their sound is amazing and it's fun to have your hands on various control knobs. But if time is limited or if you want (or need) to build a practical idea quickly a digital environment is brilliant.
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